139-495: The Vampire Lovers is a 1970 British Gothic horror film directed by Roy Ward Baker and starring Ingrid Pitt , Peter Cushing , George Cole , Kate O'Mara , Madeline Smith , Dawn Addams , Douglas Wilmer and Jon Finch . It was produced by Hammer Film Productions . It is based on the 1872 Sheridan Le Fanu novella Carmilla and is the first film in the Karnstein Trilogy , the other two films being Lust for
278-511: A poignard as a cross. Mircalla dematerialises and flees to Karnstein Castle, where the Baron and the others await her return. Once located in her resting coffin, General Spielsdorf drives a stake into Carmilla's heart and cuts off her head, thus avenging his daughter's death. Emma is freed of the vampire's sickness and influence. Meanwhile, the image of Mircalla in her portrait on the wall turns into
417-482: A "rather erotic Hammer chiller". Allmovie wrote, "This Hammer Films production isn't their finest moment but its easy to understand why it has become an enduring cult favorite with horror fans: The Vampire Lovers pushes the "bloodshed & bosoms" formula of the Hammer hits to its limit". On review-aggregator website Rotten Tomatoes the film has an approval rating of 76%, based on 20 reviews. The Vampire Lovers
556-409: A 1955 adaptation of Nigel Kneale 's BBC Television science fiction serial The Quatermass Experiment , directed by Val Guest . As a consequence of the contract with Robert Lippert, American actor Brian Donlevy was imported for the lead role and the title was changed to The Quatermass Xperiment to cash in on the new X certificate for horror films. The film was unexpectedly popular, and led to
695-684: A British film production company based in London. Founded in 1934, the company is best known for a series of Gothic horror and fantasy films made from the mid-1950s until the 1970s. Many of these involve classic horror characters such as Baron Victor Frankenstein , Count Dracula , and the Mummy , which Hammer reintroduced to audiences by filming them in vivid colour for the first time. Hammer also produced science fiction , thrillers , film noir and comedies , as well as, in later years, television series . During its most successful years, Hammer dominated
834-801: A British erotic horror film series is Hellraiser . Alien features heavy erotic imagery, with the design of the Xenomorph by H. R. Giger featuring both phallic and vaginal imagery, intended to symbolize patriarchal guilt as well as sex, rape, and pregnancy. Folk horror uses elements of folklore or other religious and cultural beliefs to instil fear in audiences. Folk horror films have featured rural settings and themes of isolation, religion and nature. Frequently cited examples are Witchfinder General (1968), The Blood on Satan's Claw (1971), The Wicker Man (1973), The Witch (2015), and Midsommar (2019). Local folklore and beliefs have been noted as being prevalent in horror films from
973-409: A Vampire (1971) and Twins of Evil (1971). The three films were somewhat daring for the time in explicitly depicting lesbian themes . In Styria , 1794, a female vampire in a diaphanous gown materialises from a misty graveyard and kills a man she lures out of a tavern. While going back to her grave, she finds her shroud missing. She is thus forced to face Baron Hartog, a vampire hunter who
1112-443: A co-production with Australia and Death Warmed Up (1984) a single production. Early features such as Melanie Read 's Trial Run (1984) where a mother is sent to remote cottage to photograph penguins and finds it habitat to haunted spirits, and Gaylene Preston's Mr. Wrong (1984) purchases a car that is haunted by its previous owner. Other films imitate American slasher and splatter films with Bridge to Nowhere (1986), and
1251-423: A crime from the past committed (an accidental drowning, infidelity, a scorned lover) and a ready made group of victims (camp counselors, students, wedding parties). The genre was derided by several contemporary film critics of the era such as Ebert, and often were highly profitable in the box office. The release of Scream (1996), led to a brief revival of the slasher films for the 1990s. Other countries imitated
1390-434: A dislike for dissonance. Skin conductance responses (SCRs), heart rate (HR), and electromyographic (EMG) responses vary in response to emotional stimuli, showing higher for negative emotions in what is known as the "negative bias." When applied to dissonant music, HR decreases (as a bodily form of adaptation to harsh stimulation), SCR increases, and EMG responses in the face are higher. The typical reactions go through
1529-422: A fanged skeleton. A mysterious man in black watches all these events unfold from a distance, occasionally laughing with contempt. The film was a co-production between Hammer and American International Pictures , who were interested in a vampire movie with more explicit sexual content to take advantage of a more relaxed censorship environment. It was decided to adapt Carmilla . Harry Fine and Michael Style were
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#17327977505581668-492: A film based on the present script and a revised script should be sent us for our comments, in which the overall unpleasantness should be mitigated. Regardless of the BBFC's stern warnings, Hinds supervised the shooting of an unchanged script. The film was directed by Terence Fisher, with a look that belied its modest budget. British TV star Peter Cushing portrayed Baron Victor Frankenstein , and supporting actor Christopher Lee
1807-428: A good film." Shelley called these films derivative of "American films and presenting generic American material". These films included the horror film productions of Antony I. Ginnane . While Australia would have success with international films between the mid-1980s and the 2000s, less than five horror films were produced in the country between 1993 and 2000. It was only after the success of Wolf Creek (2005) that
1946-506: A jump scare in a mirror can further build tension. Tight framing and close-ups are also commonly used; these can build tension and induce anxiety by not allowing the viewer to see beyond what is around the protagonist . The interaction between horror films and their audiences is another significant aspect discussed by Rhodes. He notes that horror films often serve as a safe space for viewers to confront and process their fears. This cathartic experience can provide psychological relief and
2085-422: A lower phonation frequency range). Another study by Baliatsas et al. observed that there is a correlation between exposure to infrasound and low-frequency noises and sleep-related problems. Though most horror films keep the audio around 20–30 Hz, the noise can still be unsettling in long durations. Another technique used in horror films to provoke a response from the audience is cognitive dissonance , which
2224-410: A modern setting and made other horror material which pushed the erotic content of their vampire films that was initiated by Black Sunday . In the 1980s, the older horror characters of Dracula and Frankenstein's monster rarely appeared, with vampire themed films continued often in the tradition of authors like Anne Rice where vampirism becomes a lifestyle choice rather than plague or curse. Following
2363-520: A new generation of filmmakers would continuously make horror genre films in Australia that continued into the 2010s. By 2005, New Zealand has produced around 190 feature films, with about 88% of them being made after 1976. New Zealand horror film history was described by Philip Matthews of Stuff as making "po-faced gothic and now we do horror for laughs." Among the earliest known New Zealand horror films productions are Strange Behavior (1981),
2502-475: A new genre nature taking revenge on humanity with The Birds (1963) that was expanded into a trend into the 1970s. Following the success of Willard (1971), a film about killer rats, 1972 had similar films with Stanley (1972) and an official sequel Ben (1972). Other films followed in suit such as Night of the Lepus (1972), Frogs (1972), Bug (1975), Squirm (1976) and what Muir described as
2641-416: A one-year lease and began its 1951 production schedule with Cloudburst . The house, virtually derelict, required substantial work, but it did not have the construction restrictions that had prevented Hammer from customising previous homes. A decision was made to remodel Down Place into a substantial, custom-fitted studio complex that became known as Bray Studios . The expansive grounds were used for much of
2780-483: A person relates to that specific cultural from then on in their life. The history of horror films was described by author Siegbert Solomon Prawer as difficult to read as a linear historical path, with the genre changing throughout the decades, based on the state of cinema , audience tastes and contemporary world events . Films prior to the 1930s , such as early German expressionist cinema and trick films , have been retrospectively described as horror films as
2919-522: A revived Hammer Film Productions set to work on Death in High Heels , The Dark Road , and Crime Reporter . Not able to afford top stars, Hammer acquired the film rights to BBC radio series such as The Adventures of PC 49 and Dick Barton: Special Agent (an adaptation of the successful Dick Barton radio show). All were filmed at Marylebone Studios during 1947. During the production of Dick Barton Strikes Back (1948), it became apparent that
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#17327977505583058-417: A script for an adaptation of the novel Frankenstein . Although interested in the script, a.a.p. were not prepared to back a film made by Rosenberg and Subotsky, who had just one film to their credit. Eliot Hyman however, sent the script to his contact at Hammer. Rosenberg would often claim he 'produced' The Curse of Frankenstein , an exaggeration repeated in his obituary. Although the novel by Mary Shelley
3197-522: A sense of empowerment as viewers face and overcome their anxieties in a controlled environment. The communal experience of watching horror films in theaters or discussing them in fan communities also plays a crucial role in the genre's impact and popularity.[6] Music is a key component of horror films. In Music in the Horror Film (2010), Lerner writes "music in horror film frequently makes us feel threatened and uncomfortable" and intends to intensify
3336-546: A set design by Bernard Robinson that was radically different from the Universal adaptation; it was so radical, in fact, that Hammer executives considered paying him off and finding another designer. Dracula was an enormous success, breaking box-office records in the U.K., the U.S. (where it was released as Horror of Dracula ), Canada, and across the world. On 20 August 1958, the Daily Cinema reported: "Because of
3475-451: A sick relative and asks him to care for Marcilla in her absence. Despite Marcilla's strange demeanour, Laura befriends her. Marcilla seems to be sexually attracted to her new friend. Laura starts experiencing violent nightmares where she is attacked by a giant cat, then dies of a gradual anemia . On her breasts, two puncture wounds are discovered. Marcilla disappears, and General Spielsdorf leaves to find Baron Hartog. Marcilla, now going by
3614-496: A two-step process of first orienting to the problem (the slowing of HR), then a defensive process (a stronger increase in SCR and an increase in HR). This initial response can sometimes result in a fight-or-flight response , which is the characteristic of dissonance that horror films rely on to frighten and unsettle viewers. Hammer Film Productions Hammer Film Productions Ltd. is
3753-814: A whole was a style like film noir and not bound to certain cinematic elements like the Western or science fiction film . The term "gothic" is frequently used to describe a stylized approach to showcasing location, desire, and action in film. Contemporary views of the genre associate it with imagery of castles at hilltops and labyrinth like ancestral mansions that are in various states of disrepair. Narratives in these films often focus on an audience's fear and attraction to social change and rebellion. The genre can be applied to films as early as The Haunted Castle (1896), Frankenstein (1910) as well as to more complex iterations such as Park Chan-wook 's Stoker (2013) and Jordan Peele 's Get Out (2017). The gothic style
3892-523: A young audience featuring teenage monsters grew popular in the 1950s with several productions from American International Pictures (AIP) and productions of Herman Cohen with I Was a Teenage Werewolf (1957) and I Was a Teenage Frankenstein (1957). This led to later productions like Daughter of Dr. Jekyll (1957) and Frankenstein's Daughter (1958). Teen horror cycle in the 1980s often showcased explicit gore and nudity, with John Kenneth Muir described as cautionary conservative tales where most of
4031-537: Is DAY or NIGHT specified in a number of cases. The number of set-ups scripted is quite out of proportion to the length of the screenplay, and we suggest that your rewrites are done in master scene form. Further revisions were made to the script, and a working title of Frankenstein and the Monster was chosen. Plans were made to shoot the film in Eastmancolor ;– a decision which caused worry at
4170-491: Is a film genre that seeks to elicit fear or disgust in its audience for entertainment purposes. Horror films often explore dark subject matter and may deal with transgressive topics or themes . Broad elements include monsters , apocalyptic events , and religious or folk beliefs. Horror films have existed for more than a century . Early inspirations from before the development of film include folklore , religious beliefs and superstitions of different cultures, and
4309-497: Is a "widespread and engrained acceptance of supernatural forces" in many Asian cultures, and suggests this is related to animist , pantheist and karmic religious traditions, as in Buddhism and Shintoism . Although Chinese , Japanese , Thai and Korean horror has arguably received the most international attention, horror also makes up a considerable proportion of Cambodian and Malaysian cinema. Ian Olney described
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4448-521: Is a film subgenre that emerged in the 1970s with films such as Whoever Slew Auntie Roo? (1971) and Silent Night, Bloody Night (1972), which were soon followed by the influential Black Christmas (1974). Defining the Christmas horror genre has been described as challenging, as it has generally been regarded as a sub-genre of the slasher film . Adam Rockoff, in Rue Morgue , noted that
4587-499: Is a horror film trope , where an abrupt change in image accompanied with a loud sound intends to surprise the viewer. This can also be subverted to create tension, where an audience may feel more unease and discomfort by anticipating a jump scare. Mirrors are often used in horror films to create visual depth and build tension. Shelton argues mirrors have been used so frequently in horror films that audiences have been conditioned to fear them, and subverting audience expectations of
4726-483: Is a subgenre of horror fiction that blends sensual and sexual imagery with horrific themes for the sake of sexual arousal . Erotic horror has had influences on French and American horror cinema. The works of Jean Rollin , such as Le Viol du Vampire and Fascination , are considered quintessential erotic horror films, blending deeply sexual imagery with gore. American cinema has also featured notable erotic horror film franchises, such as Candyman . An example of
4865-463: Is a subgenre of horror film whose common themes are based on religion and focus heavily on supernatural beings, often with demons as the main antagonists that bring a sense of threat. Such films commonly use religious elements, including the crucifix or cross, holy water, the Bible, the rosary, the sign of the cross, the church, and prayer, which are forms of religious symbols and rituals used to depict
5004-428: Is applied to several films throughout the history of the horror film. This includes Universal Pictures' horror films of the 1930s, the revival of gothic horror in the 1950s and 1960s with films from Hammer, Roger Corman 's Poe-cycle, and several Italian productions. By the 1970s American and British productions often had vampire films set in a contemporary setting, such as Hammer Films had their Dracula stories set in
5143-403: Is easier to view films as cycles opposed to genres, suggesting the slasher film viewed as a cycle would place it in terms of how the film industry was economically and production wise, the personnel involved in their respective eras, and how the films were marketed exhibited and distributed. Mark Jancovich in an essay, declared that "there is no simple 'collective belief' as to what constitutes
5282-769: Is keeping on and on in the same vein that makes this script so outrageous. They must take it away and prune. Before they take it away, however, I think the President [of the BBFC] should read it. I have a stronger stomach than the average (for viewing purposes) and perhaps I ought to be reacting more strongly. The scores for many Hammer horror films, including The Curse of Frankenstein and Dracula , were composed by James Bernard . Other Hammer musical personnel included Malcolm Williamson , John Hollingsworth , and Harry Robertson . Production designer Bernard Robinson and cinematographer Jack Asher were instrumental in creating
5421-562: Is particularly prominent in the cinema of Japan , Korea , and Thailand , among other countries. Despite being the subject of social and legal controversy due to their subject matter, some horror films and franchises have seen major commercial success , influenced society and spawned several popular culture icons . The Dictionary of Film Studies defines the horror film as representing "disturbing and dark subject matter, seeking to elicit responses of fear , terror , disgust , shock, suspense , and, of course, horror from their viewers." In
5560-507: Is still alive but no one has invested in it for a long time." Since then, Hammer has produced several films, including Beyond the Rave (2008), Let Me In (2010), The Resident (2011), The Woman in Black (2012), The Quiet Ones (2014), and The Lodge (2019). In November 1934, William Hinds , a comedian and businessman, registered his film company, Hammer Productions Ltd. It
5699-466: Is when someone experiences tension in themselves and is urged to relieve that tension. Dissonance is the clashing of unpleasant or harsh sounds. A study by Prete et al. identified that the ability to recognize dissonance relied on the left hemisphere of the brain, while consonance relied on the right half. There is a stronger preference for consonance; this difference is noticeable even in early stages of life. Previous musical experience also can influence
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5838-608: The A Nightmare on Elm Street series, while others disassociate themselves from characters and series and focusing on genre auteur directors like Dario Argento , while others fans would deem Argento's films as too mainstream, having preferences more underground films . Andrew Tudor wrote in Monsters and Mad Scientists: A Cultural History of the Horror Movie suggested that "Genre is what we collectively believe it to be" In addition to these perspectives, Rhodes emphasizes
5977-500: The Australian Film Commission to change its focus to being a more commercial operation. This closed in 1980 as its funding was abused by investors using them as tax avoiding measures. A new development known as the 10BA tax shelter scheme was developed ushering a slew of productions, leading to what Peter Shelley, author of Australian Horror Films , suggested meant "making a profit was more important than making
6116-582: The Gothic and horror literature of authors such as Edgar Allan Poe , Bram Stoker , and Mary Shelley . From origins in silent films and German Expressionism , horror only became a codified genre after the release of Dracula (1931). Many sub-genres emerged in subsequent decades, including body horror , comedy horror , erotic horror , slasher films , splatter films , supernatural horror and psychological horror . The genre has been produced worldwide, varying in content and style between regions. Horror
6255-503: The Southeast Asia region, including Thailand and Indonesia . The found footage horror film "technique" gives the audience a first person view of the events on screen, and presents the footage as being discovered after. Horror films which are framed as being made up of "found-footage" merge the experiences of the audience and characters, which may induce suspense, shock, and bafflement. Alexandra Heller-Nicholas noted that
6394-400: The horror film market, enjoying worldwide distribution and considerable financial success. This success was, in part, due to its distribution partnerships with American companies United Artists , Warner Bros. , Universal Pictures , Columbia Pictures , Paramount Pictures , 20th Century Studios , Metro-Goldwyn-Mayer , American International Pictures and Seven Arts Productions . During
6533-511: The novel , play and the film's story relying on the supernatural . Newman discussed the genre in British Film Institute 's Companion to Horror where he noted that Horror films in the 1930s were easy to identify, but following that decade, "the more blurred distinctions become, and horror becomes less like a discrete genre than an effect which can be deployed within any number of narrative settings or narrative patterns". In
6672-462: The "Fear of the Demonic" features graphic accounts of satanic rites , witchcraft , exorcisms outside traditional forms of worship, as seen in films like The Exorcist (1973) or The Omen (1976). Some critics have suggested horror films can be a vessel for exploring contemporary cultural, political and social trends. Jeanne Hall, a film theorist, agrees with the use of horror films in easing
6811-413: The "turning point" in the genre with Jaws (1975), which became the highest-grossing film at that point and moved the animal attacks genres "towards a less-fantastic route" with less giant animals and more real-life creatures such as Grizzly (1976) and Night Creature (1977), Orca (1977), and Jaws 2 (1978). The film is linked with the environmental movements that became more mainstream in
6950-527: The 1940s, the horror film was viewed in different terms. Critic Siegfried Kracauer included The Lost Weekend among films described as "terror films" along with Shadow of a Doubt , The Dark Corner (1946), Gaslight (1944), Shock (1946), The Spiral Staircase (1946), The Stranger (1946) Spellbound (1945) while two years earlier, the New York Times described a new cycle of "horror" productions included Gaslight , The Woman in
7089-626: The 1960s and 1970s for horror films from Italy, France, Germany, the United Kingdom and Spain, as well as co-productions between these countries. Several productions, such as those in Italy, were co-productions due to the lack of international stars within the country. European horror films began developing strong cult following since the late 1990s. It is unknown when Australia's cinema first horror title may have been, with thoughts ranging from The Strangler's Grip (1912) to The Face at
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#17327977505587228-484: The 1970s and early 1980s such vegetarianism , animal rights movements , and organizations such as Greenpeace . Following Jaws , sharks became the most popular animal of the genre, ranging from similar such as Mako: The Jaws of Death (1976) and Great White (1981) to the Sharknado film series. James Marriott found that the genre had "lost momentum" since the 1970s while the films would still be made towards
7367-479: The 1990s teen horror cycle, Alexandra West described the general trend of these films is often looked down upon by critics, journals, and fans as being too glossy, trendy, and sleek to be considered worthwhile horror films. Horror films in Asia have been noted as being inspired by national, cultural or religious folklore , particularly beliefs in ghosts or spirits. In Asian Horror , Andy Richards writes that there
7506-610: The American slasher film revival, such as South Korea's early 2000s cycle with Bloody Beach (2000), Nightmare (2000) and The Record (2000). Supernatural horror films integrate supernatural elements , such as the afterlife , spirit possession and religion into the horror genre. Teen horror is a horror subgenre that victimizes teenagers while usually promoting strong, anti-conformity teenage leads, appealing to young generations. This subgenre often depicts themes of sex, under-aged drinking, and gore. Horror films aimed
7645-487: The Association of Cinematograph Technicians blocked this proposal, and the company purchased the freehold of Down Place instead. The house was renamed Bray Studios after the nearby village of Bray , and it remained Hammer's principal base until 1966. In 1953, the first of Hammer's science fiction films, Four Sided Triangle and Spaceways , were released. Hammer's first significant experiment with horror came in
7784-542: The BBFC. Not only did the script contain horror and graphic violence, but it would be portrayed in vivid colour. The project was handed to Tony Hinds, who was less impressed with the script than Michael Carreras, and whose vision for the film was a simple black-and-white 'quickie' made in three weeks. Concerned that Subotsky and Rosenberg's script had too many similarities to the Universal films, Hinds commissioned Jimmy Sangster to rewrite it as The Curse of Frankenstein . Sangster's treatment impressed Hammer enough to rescue
7923-500: The British film industry forced Hammer into bankruptcy , and the company went into liquidation in 1937. Exclusive survived and on 20 July 1937 purchased the leasehold on 113-117 Wardour Street and continued to distribute films made by other companies. James Carreras , Enrique's son, joined Exclusive in 1938, closely followed by William Hinds' son, Anthony. At the outbreak of World War II, James Carreras and Anthony Hinds left to join
8062-629: The Door (1949), What the Butler Saw (1950), The Lady Craved Excitement (1950). In 1950, Hammer moved again to Gilston Park, a country club in Harlow, Essex, which hosted The Black Widow , The Rossiter Case , To Have and to Hold and The Dark Light (all 1950). In 1951, Hammer began shooting at their most fondly-remembered base, Down Place, on the banks of the Thames. The company signed
8201-470: The Exclusive offices in 113-117 Wardour Street, and the building was rechristened "Hammer House". In August 1949, complaints from locals about noise during night filming forced Hammer to leave Dial Close and move into another mansion, Oakley Court , also on the banks of the Thames between Windsor and Maidenhead. Five films were produced there: Man in Black (1949), Room to Let (1949), Someone at
8340-463: The Frankenstein story, it re-tells the Baron's history in flashbacks that bear no resemblance to the two earlier Hammer Frankenstein films and it portrays the Baron with a very different personality, resulting in a film which permanently breaks the chronological continuity of the series. Each subsequent movie in the series contains elements that do not relate to (or flatly contradict) the events of
8479-563: The Latin-American market employing Mexican actors, Mexican horror films were produced throughout the 1930s and 1940s, often reflecting on the overarching theme of science vs. religion conflict . Ushered by the release of El vampiro , the Mexploitation horror film era started in 1957, with films characterised by their low production values and camp appeal, often featuring vampires, wrestlers, and Aztec mummies. A key figure in
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#17327977505588618-501: The Living Dead led to an increase of violence and erotic scenes within the genre. The 1970s would expand on these themes with films that would delve into gorier pictures, as well as films that were near or straight pornographic hybrids. Genre cycles in this era include the natural horror film , and the rise of slasher films which would expand in the early 1980s . Towards the 1990s, postmodernism entered horror, while some of
8757-547: The Mexican horror scene (particularly in Germán Robles -starred vampire films) was producer Abel Salazar . The late 1960s saw the advent of the prominence of Carlos Enrique Taboada as an standout Mexican horror filmmaker, with films such as Hasta el viento tiene miedo (1967), El libro de piedra (1968), Más negro que la noche (1975) or Veneno para las hadas (1984). Mexican horror cinema has been noted for
8896-510: The U.S.) led to two sequels: There were also two Quatermass -style films: Six sequels to The Curse of Frankenstein were released between 1958 and 1974: All starred Peter Cushing as Baron Frankenstein, except The Horror of Frankenstein (which was not a sequel, but a tongue-in-cheek remake of The Curse of Frankenstein ), in which Ralph Bates took the title role. The Evil of Frankenstein stars Cushing but due to an agreement made with Universal to more closely pastiche their version of
9035-580: The Window (1919) while stories featuring ghosts would appear in Guyra Ghost Mystery (1921). By 1913, the more prolific era of Australian cinema ended with production not returning with heavy input of government finance in the 1970s. It took until the 1970s for Australia to develop sound film with television films that eventually received theatrical release with Dead Easy (1970) and Night of Fear (1973). The Cars That Ate Paris (1974)
9174-603: The Window (1944), Dark Waters (1944), Laura and Phantom Lady (1944). Mark Jancovich wrote in The Shifting Definitions of Genre: Essays on Labeling Films, Television Shows and Media (2008) that the term was virtually synonymous with mystery as a generic term, not being limited to films concerned with the strange, eerie and uncanny. Various writings on genre from Altman, Lawrence Alloway ( Violent America: The Movies 1946-1964 (1971)) and Peter Hutchings ( Approaches to Popular Film (1995)) implied it
9313-579: The agreement in place, Hammer's executives had their pick of Universal International's horror icons and chose to remake The Invisible Man , The Phantom of the Opera , and The Mummy's Hand . All were to be filmed in colour at Bray Studios, by the same team responsible for The Curse of Frankenstein and Dracula . The Mummy (the title used for the remake of The Mummy's Hand , which also incorporated significant story elements from that film's first two sequels, The Mummy's Tomb and The Mummy's Ghost )
9452-534: The alias "Carmilla", is reunited with the countess. They stage a carriage breakdown near the residence of Mr. Morton, a wealthy Englishman living in Styria and a friend of the general's. Once again, the countess manipulates Mr. Morton into offering hospitality to her alleged relative (this time introduced as her niece). Carmilla later attempts to seduce Morton's daughter Emma, who resists her more romantic overtures. Emma also falls ill and starts suffering from nightmares of
9591-412: The armed forces and Exclusive continued to operate in a limited capacity. In 1946, James Carreras rejoined the company after demobilisation . He resurrected Hammer as the film production arm of Exclusive with a view to supplying ' quota-quickies ', cheaply made domestic films designed to fill gaps in cinema schedules and support more expensive features. He convinced Anthony Hinds to rejoin the company, and
9730-427: The atmosphere created in imagery and themes. Dissonance , atonality and experiments with timbre are typical characteristics used by composers in horror film music. In the book Dark Dreams , author Charles Derry conceived horror films as focusing on three broad themes : the horror of personality , horror of Armageddon and the horror of the demonic . The horror of personality derives from monsters being at
9869-572: The biblical account of the Massacre of the Innocents and more recently in works such as E. T. A. Hoffmann's " The Nutcracker and the Mouse King " (1816) and Charles Dickens' A Christmas Carol (1843). Although ghosts have largely been replaced by serial killers, Christmas horror creates an outlet through which to explore "a modern reinvention of the Christmas ghost story". Erotic horror
10008-560: The biggest hits of the decade included films from Japan with the success of Ring (1998). Horror is a malleable genre and often can be altered to accommodate other genre types such as science fiction , making some films difficult to categorize. A genre that emerged in the 1970s, body horror films focus on the process of a bodily transformation. In these films, the body is either engulfed by some larger process or heading towards fragmentation and collapse. The focus can be on apocalyptic implication of an entire society being overtaken, but
10147-508: The celebrated credits sequence – blood being spattered from off-screen over the Count's coffin". The film magazine Empire ranked Lee's portrayal as Dracula the 7th Greatest Horror Movie Character of All Time. 1960 saw the release of the first in a long line of sequels, The Brides of Dracula , with Cushing returning to the role of Van Helsing, though Lee did not play Dracula again until Dracula: Prince of Darkness , released in 1966. With
10286-524: The centre of the plot, such Frankenstein's monster whose psychology makes them perform unspeakable horrific acts ranging from rapes , mutilations and sadistic killings. Other key works of this form are Alfred Hitchcock 's Psycho , which feature psychotic murderers without the make-up of a monster. The second 'Armageddon' group delves on the fear of large-scale destruction , which ranges from science fiction works but also of natural events , such as Hitchcock's The Birds (1963). The last group of
10425-502: The chapter "The American Nightmare: Horror in the 70s" from Hollywood from Vietnam to Reagan (2002), film critic Robin Wood declared that the commonality between horror films is that "normality is threatened by the monster." This was further expanded upon by The Philosophy of Horror, or Parodoxes of the Heart by Noël Carroll who added that "repulsion must be pleasurable, as evidenced by
10564-590: The company could save money by shooting in country houses instead of studios. For the next production, Dr Morelle – The Case of the Missing Heiress (another radio adaptation), Hammer rented Dial Close, a 23 bedroom mansion beside the River Thames , at Cookham Dean , Maidenhead . On 12 February 1949, Exclusive registered "Hammer Film Productions" as a company with Enrique and James Carreras, and William and Tony Hinds as directors. Hammer moved into
10703-563: The early films of Peter Jackson who combined splatter films with comedy with Bad Taste (1988) and Braindead (1992) which has the largest following of the mentioned films. Film producer Ant Timpson had an influence curating New Zealand horror films, creating the Incredibly Strange Film Festival in the 1990s and producing his own horror films over the 2010s including The ABCs of Death (2012), Deathgasm (2015), and Housebound (2014). Timpson noted
10842-410: The emergence of sub-genres like splatter films and torture porn. In a study by Jacob Shelton, the many ways that audience members are manipulated through horror films was investigated in detail. Negative space is one such method that can play a part in inducing a reaction, causing one's eyes to remotely rest on anything in the frame – a wall, or the empty black void in the shadows. The jump scare
10981-433: The environment reminds them of particular scenes. A 2021 study suggested horror films that explore grief can provide psychological benefits to the bereaved, with the genre well suited to representing grief through its genre conventions. In a study by Medes et al., prolonged exposure to infrasound and low-frequency noise (<500 Hz) in long durations has an effect on vocal range (i.e. longer exposure tends to form
11120-536: The evolution of the horror genre through various cultural and historical contexts. He discusses the impact of socio-political factors on the genre , such as the influence of World War I and II, the Great Depression , and the Cold War , which shaped the themes and narratives of horror films. For instance, the anxieties of the post-war era manifested in horror films as fears of invasion , contamination, and
11259-501: The fantastic business done world-wide by Hammer's Technicolor version of Dracula , Universal-International, its distributors, have made over to Jimmy Carreras' organisation, the remake rights to their entire library of classic films." Establishing the fanged vampire in popular culture , Lee also introduced a dark, brooding sexuality to the character. The academic Christopher Frayling writes, “ Dracula introduced fangs, red contact lenses, décolletage, ready-prepared wooden stakes and – in
11398-482: The female vampire who had killed his sister. However, he could not find the grave of Mircalla Karnstein. Looking at her portrait in the castle hall, Spielsdorf and Morton realise she is the same girl they separately know as Marcilla and Carmilla. Carl makes haste and rides back to Morton's to rescue Emma. As Mircalla prepares to leave with Emma, Mademoiselle Perrodot begs to be taken with her. Mircalla kills and drains her instead. Carl arrives and chases Mircalla away using
11537-433: The film from the 'quickie' treadmill and to produce it as a colour film. Sangster submitted his script to the BBFC for examination. Audrey Field reported on 10 October 1956: We are concerned about the flavour of this script, which, in its preoccupation with horror and gruesome detail, goes far beyond what we are accustomed to allow even for the 'X' category. I am afraid we can give no assurance that we should be able to pass
11676-589: The films stated if you partook in such vices such as drugs or sex, your punishment of death would be handed out. Prior to Scream , there were no popular teen horror films in the early 1990s. After the financial success of Scream , teen horror films became increasingly reflexive and self-aware until the end of the 1990s with films like I Know What You Did Last Summer (1997) and non-slasher The Faculty (1998). The genre lost prominence as teen films dealt with threats with more realism in films like Donnie Darko (2001) and Crazy/Beautiful (2001). In her book on
11815-613: The focus is generally upon an individual and their sense of identity, primarily them watching their own body change. The earliest appearance of the sub-genre was the work of director David Cronenberg , specifically with early films like Shivers (1975). Mark Jancovich of the University of Manchester declared that the transformation scenes in the genre provoke fear and repulsion, but also pleasure and excitement such as in The Thing (1982) and The Fly (1986). Christmas horror
11954-521: The genre among viewers (ahead of South Korea), according to a 2016 research. In a study done by Uri Hasson et al., brain waves were observed via functional magnetic resonance imaging (fMRI). This study used the inter-subject correlation analysis (ISC) method of determining results. It was shown that audience members tend to focus on certain facets in a particular scene simultaneously and tend to sit as still as possible while watching horror films. In another study done by John Greene & Glenn Sparks, it
12093-431: The genre continuously evolves, incorporating elements from other genres and responding to contemporary societal fears and anxieties. This adaptability is evident in the various sub-genres that have emerged over the years, such as psychological horror, body horror, and found footage horror, each addressing different aspects of human fear and the unknown. Rhodes also explores the role of censorship and regulation in shaping
12232-597: The genre did not become a codified genre until the release of Dracula (1931). Dracula was a box office success, leading to Universal and several other American film studios to develop and popularise horror films well into the 1940s . By the 1950s , horror would often be made with science fiction themes, and towards the end of the decade horror was a more common genre of international productions. The 1960s saw further developments, with material based on contemporary works instead of classical literature. The release of films like Psycho , Black Sunday and Night of
12371-579: The genre's popularity." Prior to the release of Dracula (1931), historian Gary Don Rhodes explained that the idea and terminology of horror film did not exist yet as a codified genre , although critics used the term "horror" to describe films in reviews prior to Dracula ' s release. "Horror" was a term used to describe a variety of meanings. In 1913, Moving Picture World defined "horrors" as showcasing "striped convicts, murderous Indians, grinning 'black-handers', homicidal drunkards" Some titles that suggest horror such as The Hand of Horror (1914)
12510-472: The giant cat, while her breasts show the same wounds as Laura. After Emma's father has to go to Vienna on a business trip, Emma's governess, Mademoiselle Perrodot, is seduced by Carmilla and becomes her accomplice after sleeping with her. Meanwhile, Carmilla has started feeding on people from the nearby village, causing several mysterious deaths where the corpses are drained of all blood. Morton's butler, Renton, learns about local vampire superstitions and enlists
12649-459: The gravest misgivings about treatment. [...] The curse of this thing is the Technicolor blood: why need vampires be messier eaters than anyone else? Certainly strong cautions will be necessary on shots of blood. And of course, some of the stake-work is prohibitive." Despite the success of The Curse of Frankenstein , the financing of Dracula proved awkward. Universal was not interested, and
12788-417: The grounds of Moor Park Mansion , Hertfordshire (standing in for Styria , Central Europe). Produced on a relatively low budget of £165,227, it was the final Hammer film to be financed with American money—most of the later films were backed by Rank or EMI . Gates thought AIP gave Hammer $ 400,000 so "Jimmy had change left over". He said Fantale, his company with Fine and Styles, had a 25% profit stake (which
12927-418: The help of the doctor who had already treated Laura. They use garlic flowers and crucifixes to ward Emma, who is now dying. Carmilla kills the doctor on the road. She then seduces and subjugates Renton, who was under the impression the only real vampire was Mademoiselle Perrodot. With Renton under her control, Carmilla manages to have the wards removed. Knowing she has been found out, she dispatches Renton, with
13066-500: The horror film have feelings similar to happiness or joy felt with friends, but intensified. Alternatively, audience members with negative feedback regarding the film would typically feel emotions they would normally associate with negative experiences in their life. Only about 10% of the American population enjoy the physiological rush felt immediately after watching horror films. The population that does not enjoy horror films could experience emotional fallout similar to that of PTSD if
13205-485: The horror films of Europe were often more erotic and "just plain stranger" than their British and American counter-parts. European horror films (generally referred to as Euro Horror) draw from distinctly European cultural sources, including surrealism , romanticism , decadent tradition , early 20th century pulp-literature , film serials , and erotic comics . In comparison to the narrative logic in American genre films, these films focused on imagery, excessiveness, and
13344-515: The horror genre" between both fans and critics of the genre. Jancovich found that disagreements existed from audiences who wanted to distinguish themselves. This ranged from fans of different genres who may view a film like Alien (1979) as belonging to science fiction , and horror fan bases dismissing it as being inauthentic to either genre. Further debates exist among fans of the genre with personal definitions of "true" horror films, such as fans who embrace cult figures like Freddy Kruger of
13483-521: The horror genre. The enforcement of the Hays Code in the 1930s and subsequent rating systems influenced the depiction of violence and sexuality in horror films. This regulation often pushed filmmakers to find creative ways to imply horror elements without explicit content, leading to a focus on atmosphere, suggestion, and psychological horror. The relaxation of censorship in the late 20th century allowed for more graphic and explicit horror, contributing to
13622-492: The inevitable desire for a sequel in The Revenge of Frankenstein , and an attempt to give the Hammer treatment to another horror icon. Dracula had been a successful film character for Universal in the past, and the copyright situation was more complicated than for Frankenstein. A legal agreement between Hammer and Universal was not completed until 31 March 1958 – after the film had been shot – and
13761-403: The innovation of an exposed nipple or two to support the lesbian angle." Dave Kehr wrote a favourable retrospective review for Chicago Reader , writing that the film "resulted from the last significant surge of creative energy at Britain's Hammer Films, which thereafter descended into abject self-parody". Film critic Leonard Maltin gave the film a passing grade of two-and-a-half, calling it
13900-461: The intention of retreating into her grave and taking Emma with her as her lover. Morton, who was called home by Renton, meets General Spielsdorf and Baron Hartog, who were on their way to the ruins of Karnstein Castle, along with Laura's fiancé Carl. Hartog reveals the Karnsteins were a family of vampires from the 16th century. In his youth, he managed to destroy nearly all of them, starting with
14039-553: The irrational. Between the mid-1950s and the mid-1980s, European horror films emerged from countries like Italy, Spain and France, and were shown in the United States predominantly at drive-in theatre and grindhouse theaters. As producers and distributors all over the world were interested in horror films, regardless of their origin, changes started occurring in European low-budget filmmaking that allowed for productions in
14178-551: The issue of who exactly funded Dracula is still not entirely clear (see Barnett, 'Hammering out a Deal: The Contractual and Commercial Contexts of The Curse of Frankenstein (1957) and Dracula (1958)’, Historical Journal of Film, Radio and Television , published online 19 November 2013). With a final budget of £81,412, Dracula began principal photography on 11 November 1957. Peter Cushing again had top-billing, this time as Doctor Van Helsing , whilst Christopher Lee starred as Count Dracula , with direction by Terence Fisher and
14317-513: The late 1960s and 1970s, the saturation of the horror film market by competitors and the loss of American funding forced changes to the previously lucrative Hammer formula with varying degrees of success. The company eventually ceased production in the mid-1980s. In 2000, the studio was bought by a consortium including advertising executive and art collector Charles Saatchi and publishing millionaires Neil Mendoza and William Sieghart . The company announced plans to begin making films again, but none
14456-560: The later location shooting in Hammer's films and are a key to the 'Hammer look'. Also in 1951, Hammer and Exclusive signed a four-year production and distribution contract with Robert Lippert , an American film producer. The contract meant that Lippert Pictures and Exclusive effectively exchanged products for distribution on their respective sides of the Atlantic – beginning in 1951 with The Last Page and ending with 1955's Women Without Men (a.k.a. Prison Story ). It
14595-494: The latter horror entries from New Zealand are all humorous films like What We Do in the Shadows (2014) with Jonathan King , director of Black Sheep (2006) and The Tattooist (2007) stating "I'd love to see a genuinely scary New Zealand film but I don't know if New Zealand audiences – or the funding bodies – are keen." After the 1931 release of a US-produced Spanish-language version of Dracula by George Melford for
14734-641: The lavish look of the early Hammer films, usually on a very restricted budget. Hammer's horror films featured many actors who appeared repeatedly in a number of movies, forming an informal "Hammer repertory company". As production began on Quatermass 2 , Hammer started to look for another U.S. partner willing to invest in and handle the American promotion of new product. They eventually entered talks with Associated Artists Productions (a.a.p.) and head, Eliot Hyman . During this period, two young American filmmakers, Max J. Rosenberg and Milton Subotsky , who later established Hammer's rival Amicus , submitted to a.a.p.
14873-462: The mashup of classic gothic and romantic themes and characters with autochthonous features of the Mexican culture such as the Ranchería setting, the colonial past or the myth of La Llorona (shared with other Hispanic-American nations). Horror has proven to be a dependable genre at the Mexican box office in the 21st-century, with Mexico ranking as having the world's largest relative popularity of
15012-542: The movie that went before, whilst the characteristics of Cushing's Baron vary wildly from film to film, resulting in a series that does not progress as a self-contained narrative cycle. David Prowse was the only actor to star as the creature twice in the Hammer Frankenstein series; he reprised the role from The Horror of Frankenstein in Frankenstein and the Monster from Hell . Hammer also produced
15151-519: The popular 1957 sequel Quatermass 2 – again adapted from one of Kneale's television scripts, this time by Kneale and with a budget double that of the original: £92,000. In the meantime, Hammer produced another Quatermass -style horror film, X the Unknown , originally intended as part of the series until Kneale denied them permission to use his characters (the writer is known to have disliked Donlevy's performance as Quatermass). At
15290-427: The popularity of sites like YouTube in 2006 sparked a taste for amateur media, leading to the production of further films in the found footage horror genre later in the 2000s including the particularly financially successful Paranormal Activity (2007). In their book Gothic film , Richard J. McRoy and Richard J. Hand stated that "Gothic" can be argued as a very loose subgenre of horror, but argued that "Gothic" as
15429-554: The process of understanding issues by making use of their optical elements. The use of horror films can help audiences understand international prior historical events occurs, for example, to depict the horrors of the Vietnam War , the Holocaust , the worldwide AIDS epidemic or post-9/11 pessimism. In many occurrences, the manipulation of horror presents cultural definitions that are not accurate, yet set an example to which
15568-430: The release of Francis Ford Coppola 's Bram Stoker's Dracula (1992), a small wave of high-budgeted gothic horror romance films were released in the 1990s. Also described as "eco-horror", the natural horror film is a subgenre "featuring nature running amok in the form of mutated beasts, carnivorous insects, and normally harmless animals or plants turned into cold-blooded killers." In 1963, Alfred Hitchcock defined
15707-579: The search for money eventually brought Hammer back to a.a.p.'s Eliot Hyman, through another of his companies, Seven Arts (which later merged with Warner Bros. , now the successor-in-interest to a.a.p. ). Although an agreement was drawn up, it is alleged that the deal was never realised and funding for Dracula eventually came from the National Film Finance Council ( £ 33,000) and the rest from Universal in return for worldwide distribution rights. However, recent research suggests that
15846-534: The story of Henry Henry, an unemployed London street musician, and the title was a "playful tribute" to Alexander Korda 's The Private Life of Henry VIII which was Britain's first Academy Award for Best Picture nominee in 1934. During this time Hinds met Spanish émigré Enrique Carreras, a former cinema owner, and on 10 May 1935 they formed the film distribution company Exclusive Films, operating from an office at 60-66 National House, Wardour Street . Hammer produced four films distributed by Exclusive: A slump in
15985-452: The story was not great and it had "fairly flat dialog", but the script had "all the needed ingredients". A. H. Weiler of The New York Times called it "a departure from the hackneyed bloody norm... professionally directed, opulently staged and sexy to boot". The Monthly Film Bulletin declared, "Rather below par, even by recent Hammer standards, this involves the customary heavy breathing, lusty fangs and tolerably luxurious sets, with
16124-427: The studio about depictions of lesbianism , pointing out that a previous lesbian film, The Killing of Sister George , had had five minutes excised by his office. In response, Hammer replied that the lesbianism was not of their doing, but was present in the original story by Le Fanu. Trevelyan backed down as a result. Production of The Vampire Lovers began at Elstree Studios on 19 January 1970 and used locations in
16263-549: The sub-genre sits within a trend of holiday-themed slasher films, alongside films such as My Bloody Valentine (1981) and April Fool's Day (1986). Others take a broader view that Christmas horror is not limited to the slasher genre, noting how it evolved from the English Christmas tradition of telling ghost stories. Christmas in literature has historically included elements of "darkness"—fright, misery, death and decay—tracing its literary antecedents as far back as
16402-606: The time, Hammer voluntarily submitted scripts to the British Board of Film Censors (BBFC) for comment before production. Regarding the script of X the Unknown , one reader/examiner (Audrey Field) commented on 24 November: Well, no one can say the customers won't have had their money's worth by now. In fact, someone will almost certainly have been sick. We must have a great deal more restraint, and much more done by onlookers' reactions instead of by shots of 'pulsating obscenity', hideous scars, hideous sightless faces, etc, etc. It
16541-424: The turn of the millennium. Bill Gibron of PopMatters declared a mixed definition of the psychological horror film, ranging from definitions of anything that created a sense of disquiet or apprehension to a film where an audience's mind makes up what was not directly displayed visually. Gibron concluded it as a "clouded gray area between all out splatter and a trip through a cinematic dark ride." Religious horror
16680-406: The two producers. They formed a company, Fantale, along with writer Tudor Gates . Harry Fine's wife knew Nat Cohen who introduced them to James Carreras. Fine suggested they film Carmilla . Tudor Gates said Carreras was enthusiastic and he sold it "instantly" to AIP based on the poster. Before production, the script of The Vampire Lovers was sent to the chief censor John Trevelyan , who warned
16819-402: The unknown, reflecting the collective psyche of the time. Rhodes also highlights the significance of technological advancements, such as the advent of sound in cinema, which revolutionized the horror genre by enhancing its ability to evoke fear and suspense through auditory effects. Moreover, the horror genre's flexibility and adaptability are crucial to its enduring popularity. As Rhodes notes,
16958-584: The use of faith to defeat evil. The slasher film is a horror subgenre which involves a killer murdering a group of people (often teenagers), usually by use of bladed tools. In his book on the genre, author Adam Rockoff wrote that these villains represented a "rogue genre" of films that are "tough, problematic, and fiercely individualistic." Following the financial success of Friday the 13th (1980), at least 20 other slasher films appeared in 1980 alone. These films usually revolved around three properties: unique social settings (campgrounds, schools, holidays) and
17097-408: The winding-down of the parent film distribution company Exclusive, leaving Hammer to concentrate on filmmaking. Work continued on the script for Dracula , and the second draft was submitted to the BBFC. Audrey Field commented on 8 October 1957: "The uncouth, uneducated, disgusting and vulgar style of Mr Jimmy Sangster cannot quite obscure the remnants of a good horror story, though they do give one
17236-448: Was 80 pages long. Meanwhile, the financial arrangement between a.a.p. and Hammer had broken down when money promised by a.a.p. had not arrived. Hammer began looking for alternatives, and with the success of The Curse of Frankenstein signed with Columbia Pictures to distribute The Revenge of Frankenstein and two films from the defaulted a.a.p. deal, The Camp on Blood Island and The Snorkel . Hammer's financial success also meant
17375-542: Was Lippert's insistence on an American star in the Hammer films he was to distribute that led to the prevalence of American leads in many of the company's productions during the 1950s. It was for The Last Page that Hammer made a significant appointment when they hired film director Terence Fisher , who played a critical role in the forthcoming horror cycle. Towards the end of 1951, the one-year lease on Down Place expired, and with its growing success Hammer looked towards more conventional studio-based productions. A dispute with
17514-418: Was a melodrama about a thief who steals from his own sister. During the silent era, the term horror was used to describe everything from "battle scenes" in war films to tales of drug addiction. Rhodes concluded that the term "horror film" or "horror movie" was not used in early cinema. The mystery film genre was in vogue and early information on Dracula being promoted as a mystery film was common, despite
17653-638: Was bright red, and the camera lingered on it. The film was an enormous success, not only in Great Britain, but also in the U.S., where it inspired numerous imitations from, amongst others, Roger Corman and American International Pictures (with their series largely based on Edgar Allan Poe – the so-called "Poe Cycle"). It found success on the European continent also, where Italian directors and audiences were particularly receptive. The huge box office success of The Curse of Frankenstein led to
17792-425: Was cast as the imposingly tall, brutish Creature . With a budget of £65,000 and a cast and crew that would become the backbone of later films, Hammer's first Gothic horror went into production. The use of colour encouraged a previously unseen level of gore. Until The Curse of Frankenstein , horror films had not shown blood in a graphic way, or when they did, it was concealed by monochrome photography. In this film, it
17931-614: Was directed by Terence Fisher from a screenplay from Jimmy Sangster. The Mummy went into general release on 23 October 1959 and broke the box-office records set by Dracula the previous year, both in Great Britain and the U.S. when it was released there in December. Hammer consolidated their success by turning their most successful films into series. This was a practice they had making Dick Barton movies which they continued to their horror movies and other genres. The success of The Quatermass Xperiment (1955; The Creeping Unknown in
18070-445: Was found that the audience tends to experience the excitation transfer process (ETP) which causes a physiological arousal in audience members. The ETP refers to the feelings experienced immediately after an emotion-arousing experience, such as watching a horror film. In this case, audience members' heart rate, blood pressure and respiration all increased while watching films with violence. Audience members with positive feedback regarding
18209-514: Was housed in a three-room office suite at Imperial House, Regent Street , London. The company name came from Hinds' stage name, Will Hammer, which he had taken from the area of London in which he lived, Hammersmith . Work began almost immediately on the first film, a now lost comedy, The Public Life of Henry the Ninth at the MGM/ATP studios. Filming concluded on 2 January 1935. The film tells
18348-423: Was long since in the public domain , Anthony Hinds was unsure about the story, as Subotsky's script adhered closely to the plot of the 1939 Universal film Son of Frankenstein , featuring a second-generation Baron Frankenstein emulating his father, the original monster-maker. This put the project at risk of a copyright infringement lawsuit by Universal. In addition a great deal of polishing and additional material
18487-453: Was made in 1959, The Phantom of the Opera followed in 1962, and Hammer collaborated with William Castle on a remake of The Old Dark House in 1963. The Invisible Man was never produced. Principal photography for The Mummy began on 23 February 1959 and lasted until 16 April 1959. Once again it starred both Peter Cushing (as John Banning) and Christopher Lee (as Kharis the Mummy), and
18626-414: Was needed, as the short script had an estimated running time of just 55 minutes, far less than the minimum of 90 minutes needed for distribution in the U.K. Accordingly, comments on the script from Hammer's Michael Carreras (who had joined his father James as producer in the early 1950s) were less than complimentary: The script is badly presented. The sets are not marked clearly on the shot headings, neither
18765-447: Was produced. In May 2007, the company name was sold to a consortium headed by Dutch media tycoon John de Mol , who announced plans to spend some $ 50 million (£25m) on new horror films. The new organization acquired the Hammer group's film library of 295 pictures. Simon Oakes , who took over as CEO of the new Hammer, said, "Hammer is a great British brand—we intend to take it back into production and develop its global potential. The brand
18904-420: Was released on 26 August 2003 on DVD by MGM Home Video (Fox Video) as a double-sided Midnite Movies Double Feature DVD consisting of both The Vampire Lovers and Countess Dracula (1971). Scream Factory released the film on Blu-ray on 30 April 2013 and a "Collector's Edition" was released with a new 4K scan of the original camera negative on 21 December 2021. Horror film#Subgenres Horror
19043-428: Was stalking her in order to avenge the death of his sister. He decapitates her. Decades later, Austrian General Spielsdorf is throwing a ball in his estate to celebrate the birthday of his niece, Laura. A countess , who has recently moved into the general's neighbouring property, is in attendance with her daughter Marcilla. After talking with a mysterious man in black, the countess tells the general she has to go visit
19182-483: Was the first Australian horror production made for theatrical release. 1970s Australian art cinema was funded by state film corporations, who considered them more culturally acceptable than local exploitation films ( Ozploitation ), which was part of the Australian phenomenon called the cultural cringe . The greater success of genre films like Mad Max (1979), The Last Wave (1977) and Patrick (1978) led to
19321-414: Was very lucrative.) While filming the scene in which Carmilla attacks Madame Perrodot, Ingrid Pitt's fangs kept falling out of her mouth and dropping into Kate O'Mara's cleavage, prompting gales of uncontrollable laughter from both actresses. Finally, Pitt grabbed some chewing gum from the mouth of one of the crew members and used it to secure her fangs. Variety 's review of the film was mixed, claiming
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